MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

After the massive commercial success of his prior film Fort Apache, director John Ford decided to embark on a second film of what has come to be known as his famous “Cavalry Trilogy”. On conceiving the film, Ford decided to draw upon two short stories he read from the Saturday Evening Post, “The Big Sky” and “War Party”. Ford’s Argosy Pictures production company would fund the film with a $1.6 million budget, he would direct, and Frank S. Nugent and Laurence Stallings were tasked with writing the screenplay. For his cast, he was initially opposed to casting John Wayne in the lead, as the lead character Captain Nathan Brittles at 61 was 20 years older than Wayne, and he did not believe Wayne had the acting ability to provide the gravitas the role demanded. However, after watching his outstanding performance in Red River, he changed his mind. Joining him would be Joanne Dru as Olivia Dandridge, John Agar as Lieutenant Flint Cohill, Ben Johnson as Sergeant Tyree and Harry Carey Jr. as Lieutenant Ross Pennell.

The story is set during the Indian Wars in the American west circa 1876. Captain Nathan Brittles retirement is delayed when he is ordered to subdue the breakout of the Cheyenne and Arapaho Indians who had just massacred General George Armstrong Custer’s 7th Cavalry regiment at the battle of Little Big Horn. In addition, he is to transport his commanding officer’s wife Abby and niece Olivia to safety on an eastbound stagecoach. During the mission a romantic triangle develops as his subordinates Lieutenant’s Cohill and Ross vie for the affections of Olivia. Brittles fails both his missions, yet rebounds to finally win the day with an audacious strike that surprises the Indians and scatters their horses, rendering them horseless and at the mercy of his cavalry. The film was a commercial success earning a profit of $1.1 million and critical reception was favorable. It received one Academy Award nomination for Best Cinematography.

Director John Ford was again very pleased with his collaboration with Richard Hageman on Fort Apache in 1948, and so hired him to score their third western. As the second installment of Ford’s Cavalry Trilogy, Hageman again understood that he needed to provide these heroes with the requisite marches, anthems, and military bugling fanfare to empower them. He also understood that once again the film involved the clash of civilizations of white settler migration and subjugation of the indigenous Indian tribes. As such, juxtaposed would be an Indian Theme that would speak to their culture, and defiant efforts to defend themselves from continued encroachment by white settles onto their lands.

In crafting his soundscape Hageman provided four primary themes. For continuity, Hageman again chose the song melodies for the traditional American ballads “She Wore A Yellow Ribbon” and “The Girl I Left Behind Me” to be rendered as confident and proud cavalry marches. Joining them would be a third march derived from the Irish folk song “Gary Owen,” a march which Max Steiner immortalized for the US Cavalry with his score for They Died With Their Boots On in 1941. It offers a rousing marcia bravado, that is resolute, confident, and unstoppable. A new Riding Theme, which offered a confident travelling construct was used to support scenes where men are riding in non-military formations. The theme is malleable with Hageman rendering it at different speeds and intensities to support the manner of riding. At times, as when Sergeant Tyree is being pursued by Indians, it become kinetic and quite aggressive. Juxtaposed is the pentatonic imbued Indian Theme. It is empowered by drums of war, horns bellicoso, which offer menace, but also a strident and resolute defiance. In battle it swells as an anthem, and in scenes of ambush it becomes lurking. Lastly, a tender romance for strings was crafted to serve as a Love Theme for Flint and Olivia. It is nascent for most of the film, only becoming prominent when Olivia finally expresses her love for Flint. Lastly, as he did in “Fort Apache,” Hageman interpolated and infused his soundscape with additional traditional Americana folk songs, as well as some Irish folk songs, including “O Bury Me Not On the Lone Prairie,” “Dixie” by Daniel Decatur Emmett, “The Battle Hymn Of The Republic” by William Steffe and Julia Ward Howe, “Garry Owen” a traditional Irish tune, and “St. Patrick’s Day,” also a traditional Irish tune.

There is no commercial release of the score. As such I will use film scene descriptors and time indices for my review. 0:00 “Main Title” offers a score highlight where Hageman sets the tone of the film with two proud renderings of the cavalry marches that will empower them. It opens with a forthright trotting rendering of the song melody for the titular song, the Main Theme, as we see a yellow ribbon blowing in the breeze as the Main Credits flow. At 0:30 men’s chorus begin singing the song; at 1:03 we segue into the song melody of “The Girl I Left Behind Me” rendered as a marcia bravura, joined at 1:30 by men’s chorus. We close the credits with a coda by fanfare dramatico.

At 1:39 “Custer is Dead” reveals the banner of the 7th Cavalry regiment supported by narration informing us of that Custer was dead. A dramatic musical narrative with quotes of the Main Theme supports the shock and aftermath of the massacre, which reverberates throughout the Arizona territory. At 2:27 we see mounted Indian warriors riding across the prairie. Hageman introduces his Indian Theme as narration informs us that 10,000 Kiowa, Comanche, Arapaho, Sioux and Apache have joined in common cause under Sitting Bull, Crazy Horse, Gall and Crow King to wage war against the US cavalry. At 2:39 strings furioso propel a stagecoach rapidly fleeing across the land. A US cavalry brigade arrives and begins a rescue pursuit propelled with a charging horn declared Riding Theme. A diminuendo at 2:38 supports Sergeant Tyree stopping the coach only to discover all its occupants dead. The drums of the Indian Theme join as he pulls an arrow from the coach wall.

4:00 “The Sword of Destiny” reveals soldiers hoisting the US flag supported by bugling reveille. Narration declares that at any army post, there may be one man fated to wield the sword of destiny as we see a name plate over a door displaying “Captain Nathan Brittles, US Cavalry”. Inside the camera reveal memorabilia and photos of his family. Sergeant Quincannon enters and offers Captain Brittles morning report with his Irish brogue. After chastising his friend for again drinking while on duty, Brittles remarks that he is now six days from retirement. He departs, and after greeting his officers strides off at 6:24 carried by a spritely march. He halts as Sergeant Tyree arrives with the stagecoach carried by a plaintive quote of the Main Theme that becomes dirge like as he reports to Brittles. The arrow is from the Cheyenne Tribe, which is troubling to Brittles as they are far south of their lands. He dismisses Tyree and orders the fort be placed on alert.

9:10 “Olivia and Cohill Quarrel” reveals the arrival of several riders supported by bugling reveille. We flow into a spritely trotting tune with bubbling woodwinds of delight as a carriage carrying Miss Olivia Dandridge and Lieutenant Ross Pennell are stopped and denied permission to leave by Lieutenant Flint Cohill. She is furious; however, Captain Brittles arrives, hears both sides of the dispute, and refuses Olivia’s request, lifting her out of the carriage, and then allowing Pennell to proceed alone. The two suitors have harsh words when Cohill snickers as Pennel heads out to picnic alone at 11:56 carried by racing strings irato. At 12:02 reveille sounds as a lone rider gallop into camp. His commander, Major Mac Allshard reads the communique to Brittles, which reveals the death of General Custer and the annihilation of the 200 men of the 7th Cavalry. He is advised to prepare for a new protracted Indian war. He reads off a list of names of the dead, many of which Brittles knew personally.

13:11 “In Memoriam” reveals a segue to the fort cemetery where Brittles sits by the gravestones of his wife Mary, and two daughters Jane and Elizabeth. An aching pathos for strings doloroso supports his arrival. As he lays, and then waters flowers, a lamentation by a solo muted trumpet militare supports. He tells Mary that in six days he retires, and that he is unsure of his future. As he relates that he rides out tomorrow on his last mission, plaintive strings support the growing appearance a shadow on Mary’s tombstone. Tender strings tristi support Olivia’s arrival with flowers, as she gifts him the flowers and apologizes for causing a stir at the gate. The strings soften and warm after her departure as Brittles tells Mary, she reminds him of you. 16:48 offers bugling reveille to herald the new day. Brittles is angered when he learns Allshard has ordered a wagon and a horse with a side saddle mount to join. Brittles storms into Allshard’s office and is told to take his wife and daughter to a train station where they will return east for safety. Brittles’ protest is noted, but overridden.

In 19:20 “Departure,” bugling reveille sounds as Sergeant Quincannon inspects the soldiers. Olivia flirts with Flint Cohill and then she departs with her aunt. She is wearing a yellow ribbon in her hair and purposely plays Flint’s and Ross’s hopes against each other. At 22:54 bugling reveille supports the departure, joined by men’s chorus singing “She Wore a Yellow Ribbon”. We then shift to an instrumental rendering as a marcia orgogliosa as they depart against the magnificent monument vistas of Monument National Park. At 24:40 the music darkens, becoming sinister as we see Karl Rynders leave his licensed sutler. Yet we resume the bravado march as the color guard returns to the fort and the gates are closed. At 25:03 we shift to “The Girl I Left Behind Me” song melody rendered as a marcia bravura as we see the column riding against beautiful, Monument Valley vistas. At 25:22 a diminuendo of the march supports Cohill’s report of Mr. Rynder’s carriage heading south. Brittles orders Cohill to take the point and as he rides off at 25:48 we shift to a new rousing marcia bravado derived from the Irish folk song “Gary Owen”.

26:26 “On Foot” reveals everyone walking to rest the horses, which Hageman supports with a strolling rendering of the traditional Irish tune “St. Patrick’s Day”. Flint and Olivia walk together and banter. She is aggrieved that they have to walk, and Brittles orders Flint to the rear when he sensed they were about to quarrel. A bugle led “You’re In The Army Now” supports as Quincannon joins Olivia. As we shift back to Brittles a horn empowered spritely tune carries his progress. 28:24 “Alarm” reveals trumpets of alarm declarations as Sergeant Tyree rides to the column while signaling danger ahead. Brittles and his bugler ride to meet him carried by the Riding Theme in a dramatic musical narrative. Tyree points and we see in the distance a large Indian force riding across the plain, supported by the nativist drums of the Indian Theme. Tyree identifies them as not a war party, but instead the Arapaho who are moving their entire tribe. As the camera zooms in on them at 29:00, horns resound and empower a marcia minacciosa. Brittles is perplexed as to why they are also heading towards Sudro’s Wells. Brittles decides against engaging theme due to his need to safeguard the women.

He orders the bugler at 30:03 to sound “Officers Call,” which elicits them to ride forward and join them propelled by a dire musical narrative. He orders that the Arapaho be given a wide birth and that they approach Sudro’s Well from the east, which will cause a half day delay, and possibly cause them to miss the scheduled stagecoach departure. 31:30 “Brittles Orders Changing Course” reveals him ordering that they give the Arapaho a wide birth as they ride back to the column. A new, dire, and dramatic Riding Theme supports their departure and then is sustained as the column rides through a gorge. Flint joins Olivia and chastises her for leading Ross on, saying that he is a spoiled rich kid and needs to remain in the army. He adds that if you cannot take the army, leave him alone and then rides off angrily. She begins to weep, and Brittles joins her at 32:39 to console her, supported by the Love Theme as we see she really does care for Flint. At 32:49 Hageman sow an idyllic musical narrative as the come upon a massive buffalo herd. Brittles marvels at the site, and orders the ladies brought up to view the them. A spritely Riding Theme carries their ride, where they also marvel at the site.

35:55 “Brittles Dispatches Tyree” reveals Brittles ordering Sergeant Tyree to ride ahead to Paradise River. He is to join our patrol there, proceed to Sudro’s Well, and order them to hold the stagecoach for the ladies. Horns resound as Tyree rides off and Brittles orders the column to move out. As we see Tyree riding through the buffalo herd, the dramatic Riding Theme supports. At 36:21 the column is again supported by the song melody from “The Girl I Left Behind Me” rendered as a marcia bravura as it traverses the valley with spectacular monuments towering behind them. Distant gun fire causes Brittles to halt the column. He orders Lieutenant Cohill to command the column, and then leads a brigade of ten men forward to investigate. At 37:50 they see Quayne’s patrol fleeing and Brittles orders the bugler to sound recall. Brittles orders the men to dismount and take up firing positions on a ridge. The patrol sees relief and the dramatic Riding Theme carries their ride to safety. A tension diminuendo follows as a wounded Corporal Quayne falls off his horse. Then at 38:24 the Indian Theme rendered aggressively as an attack anthem supports a war party charging over the crest. Two rifle salvos cause the Indians to retreat. The injured Corporal Quayne reports that they were ambushed by Arapaho. At 40:07 Brittles orders the bugler to sound for the wagon and then promises Quayne a sergeant’s strip and some whiskey for a job well done.

40:35 “Tyree Is Ambushed” offers a score highlight, a tour de force and perhaps the score’s most kinetic action cue. It reveals the Riding Motif carrying Tyree to retrieve a Soldier’s cap. A diminuendo of tension supports his dismount and identification of an Indian feather as Cheyenne. While he is off his horse, an arrow whizzes by his head and Indians charge over a hill at 41:09 caried by their war anthem. The Riding Theme surges as desperate flight music to propel him fleeing as the war party pursues. At 42:32 horns of alarm resound as Tyree reaches a gorge. He turns back, and then rides forward aggressively, managing to successfully leap over it. The Indians decide against the jump and their anthem dissipates as Tyree rides off. 42:48 “The Doctor Pleads” opens ominously as lightning and thunder fill the sky as the column pushes on to Sudro’s Well. The doctor pleads with Brittles to divert so he can treat the gravely injured Quayne, but he will not allow further delays in his mission. He finally relents to allow a slower walking pace so the doctor can remove the arrow head and stabilize the wound. In the wagon Quayne is given chloroform, joined by Mrs. Abby Allshard who imbibes some and gets tipsy. Quayne and Abby begin singing drunkenly “She Wore a Yellow Ribbon” until Quayne passes out, causing consternation of the doctor. He successfully removes the arrowhead and apprises Brittles, who orders his men to remount.

A scout returns and Brittles ride up to a bluff and see soldiers under attack. He orders the women to the rear. At 49:16 in “Brittle Attacks,” Hageman unleashes the aggressive bugle propelled Charge Motif, which empowers Brittle’s attack, with the Indians turning tail with their anthem carrying their retreat. At 50:00 a diminuendo supports Tyree debriefing Brittles, saying it was a joint Cheyenne and Arapaho war party. Strings tristi weave a musical narrative of woe as Brittles sees the bodies of Ma and Pa Sudro, their burnt down ranch, their crying children, and wounded soldiers. At 51:02 a solo flute triste emotes a beleaguered Dixie as Brittles come to the dying trooper Smith, who real name was Rome Clay, a former Brigadier General of the Confederate Army. With his dying words the melody becomes a lamentation as he commends the heroic actions of Tyree. Afterwards Olivia apologizes to Brittles that her demand to return east rather than endure winter was the reason the mission failed. Brittles will have none of it, saying as commander, the failure is his as he angrily kicks a burning wagon. He then says that she will miss her coach ride and walks away.

53:29 “Funeral” reveals the burial of the Sudros and trooper Smith, which is supported by a man singing the American traditional song of lamentation, “O Bury Me Not On the Lone Prairie”. The song shifts to humming as the doctor recites John 11: “Jesus said unto her, I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live, and whoever lives and believes in Me shall never die. I know that my redeemer liveth, and that he will stand at the later day upon the Earth”.

Brittles then solemnly commends the souls of John and Martha, and Rome Clay. Brittles then orders the tradition military firing of three rifle volleys and we close at 55:00 with the bugler sounding Taps. In an unscored scene Flint apologizes for his behavior to Olivia, which she accepts. As he prepares to embrace and kiss her, Ross arrives and challenges him to a fisticups for trying to take his girl. Olivia pleads them to stop, but it is Brittles order that stops them. He reproaches Ross and then expresses disappointment in Flint, saying that the man to who he will relinquish command with retirement, showed such poor leadership. He then orders preparations for a return to Fort Apache and departs, with Ross and Flint both apologizing to each other. 58:09 “Rynders is Sighted” reveals the Riding Theme supporting the column’s departure, however when Brittles is advised by Tyree that Rynders has been sighted below, he rides to investigate with Ross, Tyree and the bugler carried by an aggressive Riding Theme. A diminuendo of suspense supports their hidden arrival and dismount. At 59:02 the Indian Theme joins as we see Rynders selling rifles to the Indians. Red Shirt refuses to pay $50 per rifle, and Rynders with racist condescension shouts $50 or no deal, which results in Red Shift killing him with an arrow strike to the heart. They then kill the remainder of Rynders men and the Indian Theme swells with celebratory frenzy as they strip the wagon of its rifles. Brittles just sits and watches as the traitors suffer their fate. Horns nobile sound a fanfare rendering of “The Girl I Left Behind Me” as they depart and return to the column.

1:01:36 “Travel Through The Gorge” reveals the column riding through a gorge as Red Shirt and his war party observe from the bluffs above. A menacing Indian Theme that shifts to a crescendo bellicoso commences as Red Shirt orders hand and smoke signals to prepare the ambush. At 1:02:20 a proud rendering of the Riding Theme Fanfare joins as we zoom in on the column, which slowly swells with urgency atop a crescendo dramatico. Brittles orders Cohill ahead with two squads to secure a ford for the river crossing. 104:37 “River Crossing” opens with trumpets and contrapuntal horns resounding as Cohill moves to a bluff overlooking the river. We swell on a crescendo magnifico as the camera pans the great Paradise River. As the squads advance a marcia orgogliosa rendering of “The Girl I Left Behind Me” empowers them. As they struggle to navigate the hilly terrain, and then dig out a path to the river bank, horns dramatico resound to propel a beleaguered musical narrative. At 1:06:12 the column gallops towards the river bank. Propulsive horns resound joined by a charging Riding Theme as the boldly cross the Paradise River. At 1:07:14 Cohill orders the bugler to sound Officers Call. Brittle departs his rear guard carried by the galloping Riding Theme. When he arrives, he says this is the only crossing for twenty miles. He orders Flint to hold it and buy him a day. A vibrant instrumental rendering of the St. Patrick’s song melody supports the scene. 1:08:54 reveals Flint and Olivia saying goodbye with a kissing embrace supported by their Love Theme. As Flint departs to command the rear guard, the Love Theme carries Olivia back to her horse where she advises Ross that it’s just the way it is.

1:09:32 “The Journey Home” reveals Brittles ordering their departure and return to the fort empowered by a bravado rendering of the Riding Theme. We flow into a weary rendering of “The Girl I Left Behind Me” march as a dispirited Brittles leads the tired column back into the fort. As Brittles debriefs Allshard, he declares and accepts blame for the complete failure of the mission. Allshard then denies Brittle’s request to lead a relief brigade to rescue Cohill, saying he retires tomorrow. He says Pennell will lead the relief squad tomorrow and that the two Lieutenants need to step up, as they did forty years ago. Brittle accepts his fate, departs full of regrets, and tells Abby he intends to head west to California. The next day in an unscored scene, Brittles instructs Quincannon to clean up his quarters after he leaves, sell what he can, and donate the money to the troop fund.

1:16:40 “Brittle’s Farewell” reveals Brittles putting on his dress uniform for a final inspection of the troops. As he mounts his horse and trots towards them, he is supported by a proud instrumental rendering of “The Battle Hymn of The Republic”. He says his goodbyes, wishing them well, and is overcome when they gift him an engraved silver pocket watch. At 1:19:32 he barks his last command to Mr. Pennell; “Proceed on your mission!” He then rides off empowered by rousing trumpeting fanfare, which ushers in a proud march rendering of “The Girl I Left Behind Me” as Pennell departs. As Brittle turns for one last look, men’s chorus sing the song lyrics. Pennell is the last to depart, and as he offers a final salute to Brittles, we reprise a proud instrumental rendering of the march. Back in his quarters, Brittle examines his watch as the song melody plays softly in the background. Quincannon then walks in, dressed in Brittles’ civilian suit. He likes it, tells Quincannon to go to the store and order a duplicate for when he retires in two weeks. He then gifts him some money for two drinks and departs carried by the song “The Girl I Left Behind Me” rendered instrumentally in its original Irish song form. Brittle then orders the guards to arrest Quincannon for being out of uniform.

1:22:48 “The Fight” offers a festive instrumental rendering of the song “The Girl I Left Behind Me,” which carries Quincannon into the saloon, joined by “You’re In The Army Now” as the guards walk in. He resists arrest, and a brawl ensues propelled by “The Girl I Left Behind Me” with slapstick comedic accents as Quincannon easily dispatches the six men. At 1:24:30 the song assumes an Irish gig form as Quincannon offers a toast to end hostilities and to go voluntarily to the stockade. After a toast to Captain Nathan Brittles, trumpeting fanfare supports everyone throwing their shot glasses through the window, crowned with a reprise of “You’re In The Army Now,” which erupts into an anthem as one by one Quincannon pummels the six men. We descend into comedy until racing strings bring in an angry Abby, followed by the doctor. She orders him to the guardhouse and woodwinds animato carry him with a playful “The Girl I Left Behind Me” tune.

Brittles says goodbye to Allshard, and then secures a goodbye kiss from both Abby and Olivia. 1:27:47 “Brittle Departs” as he rides off the Riding Theme buttressed by salutatory trumpets support. 1:28:10 “War Path” as narration declares signal smokes and war drums, a menacing Indian Theme supports as we see an Indian war party riding in the valley, intent on attacking Fort Starke. In the Kiowa village nativist stick drums and chanting support their victorious warriors returning home. Narration speaks of a grand alliance of tribes who will forever drive the white men form Indian hunting lands. We switch to Brittles riding into camp and greeting Pennell and Cohill. He is advised that 900 warriors have assembled and are preparing to strike. Brittle says that by his watch, he is still captain for four more hours and writes an order for formality, to cover Pennell and Cohill.

1:30:45 “Brittle Parleys For Peace” reveals Brittle departing with Tyrell on a secret mission and instructs both lieutenants to follow his orders if he does not return. The Riding Theme empowered by fanfare supports their ride, but is overcome by a very menacing Indian Theme as they audaciously ride into the Kiowa camp. War drums support Brittles’ dismount. A warrior fires an arrow at his feet, Brittle picks it up, snaps it in two, spits on it, and tosses it back defiantly. He continues his walk and is greeted by his friend Chief Pony That Walks. He declares that he comes in peace, and then accepts the gift of salt, and peace pipe. Brittle decries Indians spoiling for war, as does the Chief who says that the young will die on both sides. He adds that he cannot stop them as they no longer listen to him, as they are roused by Custer’s defeat, and believe the return of the buffalo herds to be a good omen. Brittles declines his offer to leave the young ones and go hunt buffalo together, which elicits the Chief to give him a gift and his blessing to go in peace.

1:34:40 “Brittles Plan” reveals him leading his men stealthily at night towards the Indian camp. A soft rendering of “The Girl I Left Behind Me” is juxtaposed by rhythmic Indian drums. He orders his men to mount and the camera pans to a ravine where all the Indian horses are kept, guarded by a few mounted warriors. The Indian Theme plays as Brittles organizes his men into a line. Hageman sow tension as Cohill reads Brittles watch which says 12 minutes until midnight. 1:36:12 “Charge!” reveals Brittles ordering the bugler to sound charge and the brigade rides forth, executing Brittle’s plan to disperse the Indian horses, which would render their warriors vulnerable and unable to counterattack. The bugling Charge Motif propels the attack as we see the horse stampede through the Indian camp. At 1:38:04 Brittles orders the bugler to sound recall. Cohill reports, no casualties, and Brittles adds, no Indian war, and no court martial. He orders Cohill to follow discreetly behind the Indians as they walk with wounded pride, back to the reservation. As Cohill reads Brittles’ watch at 2 minutes past midnight, a spritely “The Girl I Left Behind Me” supports as Brittles declares, I have been a civilian for two minutes.

1:38:47 “Brittles Departs” reveals him wishing Cohill good luck as he rides off by a confident Riding Theme, crowned with the bugler who sounds reveille. We shift to Monument Valley where we see Brittles riding west to seek a new life. A vibrant Riding Theme carries his progress as narration declares he is riding to California, the end of the trail for all old men. Then the narrator adds that the army had not finished with Nathan Brittles, and so dispatched Sergeant Tyree to retrieve him, carried by an energetic and galloping Riding Theme. He finally catches up with him, hails him, and then hands him a communique from the War Department. He declares with joy that he has been recommissioned by President Ulysses S. Grant as Chief of Scouts, with a rank of Lieutenant Colonel! He tells Tyree, “Let’s go!” and as they ride off against crimson sunlit skies, a vibrant Riding Theme supports. As they enter the fort’s dance hall, officers and ladies greet them with applause. He declines their invitation to join the dance, saying he must first write his report. 1:42:21 “Finale” reveals Brittles departing and Olivia joining Flint for a dance with “She Wore A Yellow Ribbon” rendered as a valzer elegante. Brittles returns to the cemetery with the muted waltz wafting on the breeze. He bends down and places a flower on his wife’s grave. We close with Brittles leading the cavalry regiment on patrol empowered by a proud march rendering of “The Girl I Left Behind Me” as narration extols the contributions of the US cavalry, declaring that where ever they fought, that became the United States. We conclude the film with “The End” supported by the march ending with a grand flourish.

Regretfully, as is often the case, Richard Hageman’s score has no commercial release, which is sad in that his music elevated this film in scene after scene, ensuring that director John Ford achieved his vision. This was Ford’s second film of his renown “Cavalry Trilogy,” which offered a testament to how America used cavalry military power to conquer the west, and maintain peace as settlers flocked west to find a new life. America’s “Manifest Destiny” was largely achieved through the military power of its cavalry. Hageman understood that for the film to succeed, he needed to empower and celebrate this institution, which has passed unto legend. He reprised two proud military marches used in Fort Apache, which utilized the melody from two traditional American ballads. He added a third march derived from the Irish ballad” Gary Owen,” which the US military adopted during the Civil War, and which later became the anthem for the 7th Cavalry Regiment. The synergy achieved by these marches and scenes of US cavalry trotting across the plains with pride, confidence and heroism resulted in several outstanding cinematic confluences. A Riding Theme was also created to provide energy for couriers, non-formation riding, and desperate escape and pursuit scenes. The pentatonic Indian Theme, which was imbued with anger, ferocity and menace was needed to juxtapose the American themes and to dramatize the clash of civilizations as once again white settlers encroached and overran Indian lands. Lastly, the Love Theme for Flint and Olivia, a gentle romance for strings, served to juxtapose the violence and add heart to the story. Folks, this is one of the best films in the western genre, that owes much to Hageman’s masterfully crafted score. I highly recommend you take in the film to experience its glorious magnificence.

For those of you unfamiliar with the score, I have embedded a YouTube link to a seven-minute suite: https://www.youtube.com/watch?v=QNN58lr7oeA

Track Listing:

• NOT AVAILABLE

Music composed by Richard Hageman. Conducted by Constantin Bakaleinikoff. Orchestrations by Lucien Cailliet. Recorded and mixed by XXXX. Score produced by Richard Hageman and Boris Morros.